Some
people might argue that it is not healthy for a reviewer to review a lot of
products from the same manufacturer. A reviewer's affinity toward a type of
component or a brand can be established in an initial review. And this can lead
a manufacturer to offer another product to that same reviewer as a "known entity",
time and again. I'll plead "guilty as charged" for multiple reviews of
Coincident Speaker Technology speakers and electronics, and now, Triode Lab tube
amplifiers. Both of these companies make great gear and for the most part, offer
products at fair, real world prices. Quite simply, they make great gear that
audiophiles and music lovers should know about. Their stuff will enhance people's
lives and I don't feel a bit guilty about reviewing so much of it. I've bought a
fair amount of Coincident gear, but I've yet to purchase a review sample from
Triode Lab. Not because it isn't good, but because their amps I've reviewed fit
a narrow niche of low powered tube amps that require high efficiency speakers. I
explored the depths of that niche in my recent Entry Level Project where I put
together a complete rig for about $5000 that seriously challenged my much more
expensive reference set-up.

The Triode Lab Ltd. Finalé F138-FFX at around
$2800 (CDN) would have put that project "over budget" so I went with the
Coincident Dynamo integrated at $1300 (USD). So, was the Coincident a better amplifier
at less money? Well, it was different, and different doesn't always mean better,
which brings me back to the fact that this is the fourth Triode Lab amp I've had
for review. The advantage of reviewing so many is that it puts me in a position
to sort out the differences among them. Not just their strengths and weaknesses,
but also the characteristics that will make them more (or less) preferable for
your personal taste and/or the needs of your particular rig. Hopefully, you will
have been around long enough to develop an awareness of your own acoustic
preferences and how you might want your favorite music to sound. And hopefully
your listening room will be the size and shape necessary to achieve your
preferences with gear you can actually afford.

Personal preference is a key concept, not only
for determining what gear is best for you, but also for understanding the bias
of the reviewer, who is also endowed with a set of preferences. Surely by now
you've figured out I'm a tube guy. I revel in the sense of space and the tonal
color that vacuum tubes deliver. I don't necessarily insist on pinpoint imaging,
as that rarely occurs or is relevant in listening to live music, but a sense of
large space can be intoxicating for me. And the absolute sound? Well, I listen
to some live music, but many times I find the venue and the audience experience,
as well as the preferred listening level of the sound man to be limiting
factors. Being very visually oriented, I like to be up close where I can see the
performers, but this often comes at the cost of music being too loud. With
recordings, the intent of the artist and the producer is something over which I
have no control. And the quality of the pressing is something over which they
sometimes have little control, if any. Some recordings are really special,
others, not so much. But what I can
control to some extent, within my financial means, is my playback system
including the room itself and the lighting. I'm not at all concerned with being
able to identify the violins of the various masters of Cremona or the multitude
of stompboxes used by masters of the electric guitar, but I do revel in being
able to hear the nuances of those instruments and experience the emotional flux
created by the music.

Like I said, my preference are for a sense of space and the decay of
notes that comes along with it in addition to transparency.
Combining ultimate focus with transparency creates a sense of "being there" that
can be very exciting and engaging, particularly with live recordings. It can
also be tiring when you string concerts back to back. A little softer focus can
be much more relaxing—particularly when listening to Hearts of Space. One rig
cannot do it all, just like shoes. I hike, bicycle, and work on my feet a lot.
So as you can guess I tend to change my shoes several times a day. It should be so easy to change your rig for
each type of musical experience you crave. But it isn't... which brings me back
to Triode Labs and their amplifiers I've reviewed.

My introduction to Triode Labs was with their
EL84TT, a 6 Watt per channel integrated amplifier for $2395 with tube
rectification and their special driver design which gives a SET-like sound with
EL84 tubes in push-pull configuration. I wrote "A very linear unit with
impressive focus plus deep and defined soundscape." The build quality was very
good, but the design was pretty basic. Driving the now discontinued coaxial Zu
Union speaker, I was definitely impressed.

Their 2A3 Classic (Mk2) stereo power amplifier
($2888) followed. This was my first exposure to the 2A3 tube and to put it
mildly, I was blown away. I wrote, "These could be the 3.5 most important Watts
on the planet." Once again, there was a rather humble form factor combined with
very good build quality, but the sound was considerably different. I wrote, "The presentation is dark, being centered on the lower midrange with a
full, sumptuous bass. Attack is good, decay is long, midrange focus is very good
and the holographic music grabs your gut and pulls you right into the collective
soul of the performers." The top end was rolled off which ameliorated
the tiresome treble of the Zu Audio
Union, making for a very dynamic and engaging
combination.

Next up was the gorgeous 2A3S, the racing version
of the Classic, in Porsche Rubinrot Metallic, a luxurious deep red. With
upgraded (and exposed) output transformers, power transformer and choke, and
upgraded capacitors, this one put out an even more impressive 4 Watts per
channel, but bumped the price up to $3888—still a reasonable sum for such a
fine sounding amplifier with such visual appeal. It took all the addictive
qualities of the 2A3 Classic to an even higher level with the Zu Union. Upon
returning it to Carl Ng at the Montreal show, he immediately filled the void
with the F138-FFX integrated amp, the subject of this review.

Internal Inspection Of The F138-FFX
Vacuum Tube Stereo Power Amplifier

It gets a little confusing at this point. You have to
dig deep into their website. Under "Product", click on "more" and you come to
the Finale Audio by Triode Lab Ltd. website where they hide a whole other series
of mostly low power products that range from affordable to reasonably priced.
Click on "Integrated Amplifier" and then on "F138 FFX". Are you still with me?
That's good, because this is another winner. It starts out as a basic F-138
stereo power amp ($1499) and gets the full NASCAR racing treatment—except for
all the component decals on the chassis. The addition of an Alps attenuator
morphs it into an integrated amplifier and an optional 16 Ohm headphone output
is added for $2899 plus options.

Among the options is computer coded automotive
paint for the folded metal chassis and wood side panels. This one came in a
Porsche yellow which, to my eye, was less endearing than the Porsche Rubinrot
Metallic (deep red) of the 2A3S I had surrendered. But the color really doesn't
matter, because the quality of the paint job instilled a pride of ownership
matched by only a very few components I've reviewed. I've had this amp long
enough to feel like I actually own it, but I'm embarrassed to say I've just
taken a very long time to get around to writing the review. This in itself is a
significant clue as to how much I treasure this amp. It's not silver; it's not
black like most of your other components. It becomes the visual and audible
center of your system. When you look at it, it seems to be a basic tube
amplifier taken to a very high level with a superior automotive finish. Some of
the FFX models come with a suite of Hashimoto transformers from the company that
made the legendary transformers for Sansui. Other FFX models come with Tamura,
Tango and other high quality brands. This one has a pair of Hashimoto and a
power transformer from ANK (formerly Audio Note Kits, in Ottawa) who make very
good transformers. But to listen to music coming through it driving a proper set
of high efficiency speakers, the music sounds more inviting than massive solid
state amplifiers milled from billet aluminum. How does it do it? Sound
engineering, high quality parts, executed with Zen-like attention to detail.
Notice the layout of the wiring. This is just one element of what they call FFX
Silent Ground Technology—a grounding network they have designed to reduce hum
and noise to produce an optimal SNR (signal-to-noise ratio). They also claim to have maximized the
potential of the exotic parts with their special V-Max Tuning which yields
maximum output power that is both measurably and sonically superior to more
typical designs. With no music playing I turned the volume pot up full and I was
able to put my ear right up to the drivers without hearing any noise. Small
wonder that I was able to hear so much inner detail in the music.

The EL84 power tube used here is much more linear
than the 2A3 tube. Bass is tight and deep, but not iron fist tight. It doesn't
need to be, because most of the music is found in the midrange and that's where
the music grabs your emotions. Bass may trigger your testosterone, but the
midrange grabs your soul. And the treble? Sweet and extended. It refined the
treble produced by the Zu Audio Union speakers, thus making them more listenable for longer periods of time.
With the Tekton Design Lore Reference speakers, the treble was smoother and more
resolved. The Lore Reference was the $1000 speaker I used in my Entry Level
Project and it received a Blue Note Award for 2014. Its tonal balance is flatter
than the Zu Union and resolution is outstanding for a speaker in its price
range, particularly when used with Sound Damped Steel Isofeet beneath the
spikes.

The Triode Lab Ltd. Finalé F138-FXX has even
better focus than the Coincident Dynamo that was used in the Entry Level Project
and it is a little smoother, too, but it gives up some transparency for which
the Dynamo is extraordinary. The Dynamo is heavier (22 versus 18 lbs.) and with
EL34 tubes, more powerful (8 versus 6 Watts). And the Dynamo costs less than
half what the FFX costs, but the FFX has better resolution and a smoother
presentation. Both amps are winners, but each excels in different ways, which
makes your choice of speaker and your personal listening preferences so entwined
with choosing one amp over the other. If you listen for long periods of time and
like your music to be a more relaxing experience, the FFX may be the way to go.
It will also be your best choice if your speakers or room are on the bright side
of neutral and you want to tame that parameter. On the other hand, if you listen
for only an hour at a time and prefer a more intense, "you are there" listening
experience, the Dynamo will deliver. The FFX with the Tekton Lore Reference
would be the more relaxing combination while the Dynamo with the Zu Union would
be a near front row live concert experience. Both combinations draw you into the
music. The Finalé F138-FXX / Tektondoes combination produced smoothness, detail
and tonal color; while the Dynamo/Zu combination draws you in with dynamics and
transparency. Put either amplifier with the other speaker and you get something
in-between. And if you want it all, then you have to step up to something like
the Coincident Turbo 845SE, which, at $6000 and 85 lbs, is in a different
league. There are others, perhaps finer and certainly more expensive, yet I urge
you to live within your means and enjoy the music, both recorded and live.

Other comments on functionality should include
mention of the connections. First, there is only one unbalanced RCA input. If
you're using a DAC with S/PDIF RCA, USB and TosLink optical digital inputs, then
the one input on the Triode Lab Ltd. Finalé F138-FXX becomes three inputs via
the DAC. With my listening regimen including LPs, FM radio and CDs, I did a fair
amount of cable swapping. Radio is a Sunday night Hearts of Space ritual, but
when I get into the vinyl grooves or the silver discs, I tend to stay there for
a week. Many people survive quite nicely with just a single source, but think
this through. The absence of a switching device to select among various inputs
contributes to the transparency and focus achieved with the F138-FFX. Not until
you get into the league of electronic, rather than mechanical switching does
this become a non-issue, but this technology comes with a steep cost. A decade
ago I reviewed the Manley Skipjack which was a neat switching device activated
with a pushbutton on a long cable that would have overcome this limitation (at a
cost), but it hasn't been available since 2011.

There was only a single set of speaker cable
binding posts; gold plated Cardas in my unit, or CMC posts with the plastic
covers required in Europe are both offered. The binding posts are on both sides
of the RCA inputs and there is not a lot of room between them. I was able to
connect two sets of JPS Labs speaker cables with spades to each post when I ran
the Tekton Lore Reference with vintage Tekton subwoofers, but it was not fun
with these stiff cables. A screw driver with a hex socket was helpful to snug
down the binding posts sufficiently even when only attaching a single cable.

There is a standard 1/4" headphone jack on the
front of the amp that is wired for 16 Ohms and is capable of driving even the
most difficult electrostatic type headphones. When you have a headphone input,
your speaker binding posts can be wired for 4 or 8 Ohms. Without the headphone
jack, the speaker posts can be wired for 16 Ohms, should you have such a rare
speaker. There is a small toggle switch on the top deck of the chassis between a
couple of transformers that will switch between headphones and speakers. Be sure
to keep speakers attached to the amp even when using your headphones as the amp
likes to see a resistance at that point in the circuit. I haven't succumbed to
the recent headphone craze, though I've been increasingly intrigued by it. I had
a couple of headphones on load from my buddy, Tom, which I auditioned with the
FFX. His vintage Grado SR-80 cans have been very useful in my computer rig for
deciphering my audio show notes on video. With music through the FFX, the Grado
produced music of much higher resolution than I thought them capable, but it
also revealed some of the tonal unevenness of this near entry level headset.
Switching to his AKG K701 headset the focus improved and tonal balance evened
out as you would expect from an AKG in the $200+ range. More expensive cans I've
heard at shows sounded better, but I think it's safe to say that ultimately I
would enjoy the F138-FFX headphone output as much as I have enjoyed the amp
driving speakers.

Like many other models from Triode Lab, the Finalé
F138-FXX is wide, left to right, and shallow, front to back. In spite of the
rather sophisticated footers that came on the amp, focus improved even more when
using Boston Audio TuneBlocks. I had to use a cardboard packing device beneath
the heavy and somewhat stiff yet excellent sounding JPS Labs SuperConductor+
power cable to keep it from tipping the amp backwards and lifting it off the
front footer. Whether this would be an issue for you depends on how your cables
are draped behind your gear. I had less trouble with the more flexible Audio
Sensibility Testament power cable. Both cables performed very well with the
F138-FFX amp; you want to plan on having a decent power cord with an amp of this
caliber. Ultimately, I preferred the Synergistic Research MIG footers for the
enhanced sense of space they allow, but you may prefer a more neutral sound of
the Boston Audio TuneBlocks. Other footers will make slightly different
contributions to the final sound. It is a matter of fine tuning to your personal
preference, taking into account the consequences of your listening room. A
telling moment came at one point when I realized the amp had slipped off the
front MIG footer without my being aware of it, hence resting on the stock
footers at the front corners. When I reinstalled the front MIG footer the music
regained more holographic imagery and the music floated more freely in space.
The music playing was that flash-in-the-pan trio from the 1960s, The Jimi
Hendrix Experience on Live at Winterland.
It is also notable that the resolution of the F138-FFX has a way of sorting out
such difficult live recordings in a way that makes the lyrics intelligible and
the instruments musical. Neil Young & Crazy Horse on Live
Rust, and Bob Dylan's Live 1966
were equally revelatory of the excellence of the FFX. The endless toe tapping
and occasional goose bumps were proof.

The red amp in the photo seems like it might be a
different model, but it is also a Finalé F138-FXX. The new owner wanted a
complete set of binding posts for 4, 8 and 16 Ohm speakers, as well as the
larger 5AR4/GZ34 rectifier tube rather than the 6CA4 tube used on the yellow one that
eventually came to me. You will also notice the RCA inputs have been moved off
to the side on the red amp, rather than placed between the left and right
speaker binding posts. This brings up an important point about Triode Lab. They
have different models, like larger companies, but they are an artisan workshop
that is small enough to cater to your specific needs. Moreover, they are
extremely knowledgeable about tube amplifiers and the parts that go into them.
For example, do you prefer Amtrans insulated/twisted gold plated solid core
OFC or Belden silver plated solid core signal wires? And if you don't know
the difference, they can guide you toward the proper choice if you can
articulate the kind of sound you are looking for and what speaker you will be
driving with the amp. That kind of flexibility and service isn't available from
the big boys. On the other hand, you won't get uniform, engineered packaging
with model names and logos printed on the box either.

Aurally Amazing Artisanal
Audio

Triode
Labs is a very special artisan shop that makes low powered tube amps for
seasoned audio and music enthusiasts who have been around long enough to know
what they want from an amplifier. They can build it basic, such as the Triode
Lab Ltd. Finalé F138 power amp ($1599+) or hot-rod it into the superb sounding
Finalé F138-FXX integrated amplifier reviewed here with an Alps volume pot
among many other upgrades. And they can take it even higher than my review
sample with optional features and even more expensive parts. I wish I could say
I've spent three hours listening to music every day over the nine months I've
had this amp. It's really that much fun, but show reports each take a month out
of my listening time and I've done three of them this year, plus the time
consuming Entry Level Project in which I put together a complete system.
Dropping the F138-FFX into that Entry Level Project was worth every penny of the
additional $1600 and proved to me that I don't need a rig upwards of five
figures to enjoy the music, at least from the digital sources that were in play.
In an age when the middle class is being tightly squeezed this was a breath of
fresh air. The Triode Lab Ltd. Finalé F138-FXX is not for everybody, however.
If you're still speed dating with speakers and amplifiers, then Triode Labs is
probably not for you. But if you've come to appreciate what tubes can contribute
and have found a speaker with high sensitivity that works for you, by all means,
examine the entire line from Triode Labs. Their models differ in subtle but
significant ways and have a broad price range. I've covered four of them now,
and I wouldn't hesitate to review even more, especially since I'm due to receive
a couple of very promising high sensitivity speakers. Does it sound like I'm
trying to launch this company into stardom? They deserve it!